Piero di Cosimo

From Wikipedia, the free encyclopedia

Jump to navigationJump to search
Not to be confused with Piero di Cosimo de' Medici.

The Death of Procris, c. 1495

Perseus Rescuing Andromeda, oil on canvas, 1510 or 1513, Uffizi.

Tritons and Nereids (1500), oil on panel, 37 x158 cm, Milano, Altomani collection.
Piero di Cosimo (2 January 1462[1] � 12 April 1522), also known as Piero di
Lorenzo, was an Italian painter of the Renaissance.

He is most famous for the mythological and allegorical subjects he painted in the
late Quattrocento; he is said to have abandoned these to return to religious
subjects under the influence of Savonarola, the preacher who exercised a huge sway
in Florence in the 1490s, and had a similar effect on Botticelli. The High
Renaissance style of the new century had little influence on him, and he retained
the straightforward realism of his figures, which combines with an often whimsical
treatment of his subjects to create the distinctive mood of his works. Vasari has
many stories of his eccentricity, and the mythological subjects have an individual
and quirky fascination.[2]

He trained under Cosimo Rosselli, whose daughter he married, and assisted him in
his Sistine Chapel frescos. He was also influenced by Early Netherlandish painting,
and busy landscapes feature in many works, often forests seen close at hand.
Several of his most striking secular works are in the long "landscape" format used
for paintings inset into cassone wedding chests or spalliera headboards or
panelling. He was apparently famous for designing the temporary decorations for
Carnival and other festivities.

Contents
1 Biography
2 Selected works
3 Gallery
4 References
5 External links
Biography

Young St John the Baptist, 1490s

The son of a goldsmith, Lorenzo di Piero, Piero was born in Florence and
apprenticed under the artist Cosimo Rosseli, from whom he derived his popular name
and whom he assisted in the painting of the Sistine Chapel in 1481.

In the first phase of his career, Piero was influenced by the Netherlandish
naturalism of Hugo van der Goes, whose Portinari Triptych (now at the Uffizi
Gallery in Florence) helped to lead the whole of Florentine painting into new
channels. From him, most probably, Cosimo acquired the love of landscape and the
intimate knowledge of the growth of flowers and of animal life. The manner of Hugo
van der Goes is especially apparent in the Adoration of the Shepherds, at the
Berlin Museum.

He journeyed to Rome in 1482 with his master, Rosselli. He proved himself a true
child of the Renaissance by depicting subjects of Classical mythology in such
pictures as Venus, Mars, and Cupid, The Death of Procris, the Perseus and Andromeda
series, at the Uffizi, and many others. Inspired to the Vitruvius' account of the
evolution of man, Piero's mythical compositions show the bizarre presence of hybrid
forms of men and animals, or the man learning to use fire and tools. The multitudes
of nudes in these works shows the influence of Luca Signorelli on Piero's art.

During his lifetime, Piero acquired a reputation for eccentricity�a reputation

enhanced and exaggerated by later commentators such as Giorgio Vasari, who included
a biography of Piero di Cosimo in his Lives of the Artists.[3] Reportedly, he was
frightened of thunderstorms, and so pyrophobic that he rarely cooked his food; he
lived on a diet of hard-boiled eggs, which he prepared 50 at a time while boiling
glue for his artworks.[4][5][6] He also resisted any cleaning of his studio, or
trimming of the fruit trees of his orchard; he lived, wrote Vasari, "more like a
beast than a man".

If, as Vasari asserts, he spent the last years of his life in gloomy retirement,
the change was probably due to preacher Girolamo Savonarola, under whose influence
he turned his attention once more to religious art. The death of his master Roselli
may also have affected Piero's morose elder years. The Immaculate Conception with
Saints, at the Uffizi, and the Holy Family, at Dresden, illustrate the religious
fervour to which he was stimulated by Savonarola.

With the exception of the landscape background in Rosselli's fresco of the Sermon
on the Mount, in the Sistine Chapel, there is no record of any fresco work from his
brush. On the other hand, Piero enjoyed a great reputation as a portrait painter:
the most famous of his work is in fact the portrait of a Florentine noblewoman,
Simonetta Vespucci, mistress of Giuliano de' Medici. According to Vasari, Piero
excelled in designing pageants and triumphal processions for the pleasure-loving
youths of Florence, and gives a vivid description of one such procession at the end
of the carnival of 1507, which illustrated the triumph of death. Piero di Cosimo
exercised considerable influence upon his fellow pupils Albertinelli and Bartolomeo
della Porta, and was the master of Andrea del Sarto.

Vasari gave Piero's date of death as 1521, and this date is still repeated by many
sources, including the Encyclop�dia Britannica.[7] However, contemporary documents
reveal that he died of plague on 12 April 1522.[8] He is featured in George Eliot's
novel Romola.

Selected works
Madonna and Child Enthroned with Sts. Peter, John the Baptist, Dominic, and
Nicholas of Bari (1481�85) tempera and oil on panel, St. Louis Art Museum, St.
Louis, Missouri

Madonna and Child Enthroned with Saints

Portrait of Simonetta Vespucci (c. 1480) Oil on panel, 57 x 42 cm, Mus�e Cond�,
Chantilly, France
The Visitation with Saints Nicholas and Anthony (1489�1490) Wood, 184 x 189,
National Gallery of Art, Washington
Venus, Mars, and Cupid (1490) Wood panel, 72 x 182 cm, Staatliche Museen, Berlin
Vulcan and Aeolus (c. 1490) Oil and tempera on canvas, National Gallery of Canada,
Ottawa
St Mary Magdalene (1490s) Tempera on panel, 72,5 x 76 cm, Galleria Nazionale d'Arte
Antica, Rome
Mystical Marriage of St. Catherine of Alexandria (1493) Oil on panel, Ospedale
degli Innocenti, Florence
Jason and Queen Hypsipyle with the Women of Lemnos (ca 1499) Private Collection[9]
Tritons and Nereids, Oil on Panel, 37x158 cm, Milan, Altomani collection
Allegory (1500) Panel, National Gallery of Art, Washington
The Nativity with The Infant St. John (c.1500) Oil on panel, National Gallery of
Art, Washington
St. John the Evangelest (1504�06) Oil on panel, Honolulu Museum of Art
The Discovery of Honey (c. 1505�1510) Oil on panel, Art Museum, Worcester,
Massachusetts
The Finding of Vulcan on Lemnos (1495�1505) Oil and tempera on canvas, Wadsworth
Atheneum, Hartford, Connecticut
Perseus Freeing Andromeda (c. 1515) Oil on wood, 70 x 123 cm, Uffizi, Florence
Portraits of Giuliano and Francesco Giamberti da Sangallo (c. 1485) Diptych, wood
panel, 47,5 x 33,5 cm, Rijksmuseum, Amsterdam
The Death of Procris (c. 1500) Oil on panel, 65 x 183 cm, National Gallery, London
Virgin with Child, St. John the Baptist and an Angel (c. 1500�1510) Oil on panel,
diameter 129 cm, S�o Paulo Museum of Art, S�o Paulo
The Adoration of the Christ Child (1505) Oil on wood, Galleria Borghese, Rome
The Forest Fire (c. 1505) Oil on panel, 71 x 202 cm, Ashmolean Museum, Oxford
Immaculate Conception with Saints (c. 1510 or c. 1498) Wood panel, 206 x 172 cm,
Uffizi, Florence
The Misfortunes of Silenus (c.1505�1510) Oil on panel, Fogg Art Museum, Cambridge,
Massachusetts
The Myth of Prometheus (1515) Oil on panel, Alte Pinakothek, Munich and Mus�e des
Beaux-Arts, Strasbourg
The Building of a Palace (1515�20) oil on panel, 83 x 197 cm, Ringling Museum of
Art, Sarasota, Florida
Madonna and Child with Saints and Angels (c.1520) oil on wood panel, Philbrook
Museum of Art, Tulsa, Oklahoma